Comic Review: Daredevil by Frank Miller & Klaus Janson, Vol. 3

Published: July 2nd, 2015
Written by: Frank Miller, Mike W. Barr
Art by: John Buscema, Klaus Janson, Bill Sienkiewicz

Marvel Comics, 317 Pages

Review:

While this is the weakest of the three volumes that collect the Frank Miller run on Daredevil, it’s still a damn good book and it closes out the run, setting things up for a new creative team.

In the previous volume, we already dealt with the death of Elektra and the defeat of Bullseye. This one pretty much covers the fallout from that, emotionally, as well as how it effects the overall story and the primary characters within.

This collection also includes the graphic novel Love & War, which I will actually review as its own body of work at a later date.

The thing I really liked seeing in here was how Daredevil dealt with his grief, as well as how he and Black Widow sort of came back into each other’s lives after everything that happened to them previously, as well as the issues Daredevil is left to deal with after losing the love of his life.

The story also does a great job of fleshing out Foggy Nelson and giving him things to do, other than just being Matt Murdock’s best bud and business partner.

On top of that, we get a powerful moment between Daredevil and Bullseye, as well as some really interesting and character defining moments for The Kingpin.

This was definitely a worthy conclusion to the Frank Miller era, even if it wasn’t as exciting as the other two volumes. This is much more a story about human emotion and working through it than it is straight action and street level badassery. However, there’s enough of that stuff in here to keep the normie superhero comic book fan engaged.

Rating: 8.5/10
Pairs well with: the rest of Frank Miller’s run, as well as Ann Nocenti’s and the stories in-between.

Video Game Review: Batman: Return of the Joker (NES)

I never played this game and I guess I kind of missed out, as I probably would’ve really liked this, back in the day.

I was a fan of the first Sunsoft Batman game for the original Nintendo, as it came out and was tied to the 1989 Tim Burton movie.

I never realized that this one was a direct sequel to it and I guess that makes it exist in an alternate timeline than the cinematic universe of the same era. Granted, these games are very different than the ’89 movie in that they have a very sci-fi/cyberpunk aesthetic and deviate from the film’s story quite a bit.

So in this version of a sequel, the Joker has survived. They’ve also given him more of a comic book look, as opposed to using Jack Nicholson’s likeness. I’m assuming that was because the licensing fees to use his visage once again was too pricey and unnecessary in the grander scheme of things.

The game looks very similar to its predecessor; however, they’ve given Batman a larger sprite and stripped away the mechanics only to replace them with something worse. The weapons system may seem more advanced but it’s kind of confusing, tedious and annoying. Also, you can’t bounce off of walls and scale them like you could in the previous game.

This also adds in a few jetpack shooter stages that play more like a Gradius game than a normal Batman title. It’s kind of cool but I would’ve preferred having more standard levels with some good design. In fact, the levels in this game feel very small and are conquered too quickly.

Most of the bosses are just a big pain in the ass. Additionally, the first time you fight the Joker, he flies around in a pod like Dr. Robotnik from the Sonic games. It’s not cool and it’s pretty lame. The second time you fight the Joker, you basically fight a Joker-themed super computer. It’s also lame.

This game had some promise and I mostly enjoyed it but the improvements just ended up being disappointments. I would’ve rather just gotten a redesigned version of the first game with new levels and bosses.

Rating: 6.5/10
Pairs well with: the previous Sunsoft Batman game for the NES

Film Review: Spider-Man (2002)

Also known as: Spider-Man: The Motion Picture (working title)
Release Date: April 30th, 2002 (Philippines premiere)
Directed by: Sam Raimi
Written by: David Koepp
Based on: Spider-Man by Stan Lee, Steve Ditko
Music by: Danny Elfman
Cast: Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, Rosemary Harris, J.K. Simmons, Joe Manganiello, Bill Nunn, Elizabeth Banks, Ted Raimi, Bruce Campbell, Randy Savage, Octavia Spencer, Macy Gray, Lucy Lawless, Jim Norton

Marvel Entertainment, Laura Ziskin Productions, Columbia Pictures, 121 Minutes

Review:

“Remember, with great power comes great responsibility.” – Uncle Ben

Spider-Man blew my mind when it came out in 2002, as the vast majority of comic book movies before it were terrible. Also, Marvel didn’t have a good track record up to this point, other than 2000’s X-Men, which was just one movie that seemed to have taken a step in the right direction.

Sam Raimi made magic, however, and seeing this for the first time in a very long time, I’ve got to say that the magic is still there. Frankly, I loved this movie in 2002 and I love it now in 2020.

Side note: how the hell is this 18 years-old already?

From top to bottom, this is a solid picture. Sure, I have some issues with the creative direction but it achieved what it set out to do, which was to tell a great origin story, close to the source material, and to entertain and give fans something spectacular.

On top of that, it’s well acted, everyone plays their parts well and even if Tobey Maguire wasn’t 100 percent perfect as Spider-Man or Peter Parker, it’s hard not to love him and become invested in his journey. I’m from the camp that really liked Tobey Maguire and I still think he’s the best live-action Spider-Man, overall.

I also thought that Willem Dafoe was genius casting as Norman Osborn a.k.a. the Green Goblin. While I’m not a fan of the Goblin’s suit in the movie, as a character, his was pretty close to perfect. It actually kind of sucks that they only really got to use him in one film but the story that emerged from his demise makes up for it, as these movies become just as much about Harry Osborn’s journey, as they are Peter Parker’s.

This is just so well crafted and executed that it set the bar really high for the series. It would actually be eclipsed by the second movie, which I once considered a near masterpiece. We’ll see how I still feel about it in another week or so. Let’s try not to talk about the third film until I review that one. I have a feeling that time did it some favors in spite of its creative misfires.

Anyway, the emotional high points of this movie still hit me right in the feels and regardless of having seen this multiple times, it’s all still very effective. The Uncle Ben stuff really feels like a punch to the gut, even if you know it’s coming and you’ve already experienced it.

Apart from the Goblin costume, my only real gripe about the movie is the overly copper look to it. It’s not terrible but I’m not a fan of everything sort of looking like it was shot at sunset, excluding the night scenes. This just feels really filtered and overly vivid. It’s an obvious creative choice but it’s not one that makes the visual presentation look more like the comics. Well, maybe the comics of the time but it kind of detracts from what could’ve been a more colorful, more cheerful look to the film, more akin to the classic artwork and tone of Steve Ditko.

One thing that really stood out to me quite a bit was Danny Elfman’s score. What happened to movie scores? There really aren’t very many that are that memorable in modern times and this one just really points that out, as it’s dynamic, energetic, fun and I’d say, by this point, iconic. While it’s not on the level of Elfman’s Batman scores, it feels more refined and complex and it doesn’t come off as derivative of his older work, which some of his scores do.

Spider-Man still is one of the best superhero movies ever made. I think it’ll maintain that status forever, as it helped push Marvel properties down the right cinematic path and it exceeded 2000’s X-Men by quite a bit.

Rating: 9/10
Pairs well with: the other two films in this mostly great series.

Comic Review: V for Vendetta – 30th Anniversary Deluxe Edition

Published: November 20th, 2018
Written by: Alan Moore
Art by: David Lloyd

DC Comics, Vertigo, 397 Pages

Review:

While I had several singles issue of V for Vendetta, as a kid. I’ve never actually completed the run and I’ve never read the ten-part maxi-series in its entirety.

That is until now, and because Comixology recently had a sale on the 30th anniversary edition, which was pretty pricey for a digital comic before the sale.

Being a long-time fan of Alan Moore’s work, most specifically Watchmen, and a fan of the V for Vendetta film adaptation, reading this was long overdue.

For the most part, I was really impressed with the story in its original form. It was more fleshed out than the film, which I can now say was a really good adaptation of the source material despite having limited time to fit as much in as possible.

The comic, however, was able to convey things in a deeper way while also showing things that couldn’t have been used in the film due to the differences between the two mediums and major studio Hollywood’s tendency to self-censor.

I can’t say that I was blown away by David Lloyd’s art style but that’s also pretty subjective and it does fit the tone of the story well. It’s just not my general cup of tea and it came across as pretty subdued with muted colors and action that didn’t feel as dynamic as it could have been. Still, it works for the story and I don’t want to sound like I’m just shitting on it.

If you’ve seen the film but never read the comic, the plot is basically the same. There’s just a little more meat and potatoes with the comic.

While many comics that have been labeled as “masterpieces” don’t live up to the historical hype, I’d say that V for Vendetta does. It’s a long read, packed with almost too much dialogue but it’s certainly not boring and it has solid pacing where every scene feels necessary.

Frankly, it truly is one of Alan Moore’s best.

Rating: 9/10
Pairs well with: Alan Moore’s Watchmen, as well as his more political work.

Comic Review: Fantastic Four – Masterworks, Vol. 3

Published: March 6th, 2014
Written by: Stan Lee
Art by: Jack Kirby

Marvel Comics, 247 Pages

Review:

Man, I’m really glad that I started reading Fantastic Four from the beginning. There’s just something unique and truly special about Stan Lee and Jack Kirby creations and collaborations. And while these stories are hokey and not as refined as they would become, it’s really cool seeing the earliest version of the Marvel universe take shape.

Each volume in the Masterworks releases really builds off of the previous ones and expands the larger universe more and more.

Here, we get to see stories with the Avengers, as well as the X-Men, bringing several core Marvel characters together in their earliest days. I also liked that the Hulk came back for a multi-part story arc. Although, this one was lacking in Spider-Man magic. But I also just love old school Spidey and FF stories.

This brings back most of the main villains from previous issues and even introduces some new ones like The Hate-Monger. I actually own that comic in its original floppy form, so reading it here means that I don’t have to physically touch my already weathered copy.

Stan Lee really seems to be hitting his stride with these characters and these stories while Jack Kirby’s art seems a bit more fine tuned and dynamic. Granted, Kirby was one of the most dynamic comic book artists in history but his work in this collection really shows how much he’s enjoying drawing these characters. It just has this little extra flair that’s hard to describe. I guess it’s like eating a meal made with love, as opposed to eating a meal that was just made out of necessity.

Overall, this was thoroughly enjoyable and it kept moving the story forward while constructing a very young universe that would grow into something massive.

Rating: 8.5/10
Pairs well with: the other Marvel Masterworks collections.

Comic Review: Spider-Man/Red Sonja

Published: 2007
Written by: Michael Avon Oeming
Art by: Mel Rubi, Michael Turner (covers)
Based on: Red Sonya by Robert E. Howard, Red Sonja by Roy Thomas and Barry Windsor-Smith

Marvel Comics, Dynamite Entertainment, 144 Pages

Review:

Man, I really wanted to like this but it left me mostly, underwhelmed and baffled.

A long time ago, back when Marvel had the full-time publishing rights to Red Sonja, they did a one-off story about Mary Jane being possessed by Sonja and then had her team-up with her boyfriend, Spider-Man.

This longer, five-part miniseries is just a rehash of that story, as opposed to having Spidey actually team-up with the real Sonja in the flesh.

Still, it’s not the worst idea for bringing these characters together but doing it a second time seems lazy and uninspiring. But then, so does the rest of this story.

Red Sonja’s villain Kulan Gath shows up in modern day New York City to create havoc because that’s what villains do. He then uses Venom to try and take out Sonja and Spidey but ultimately, he steals the Venom symbiote for himself because this story is already cookie cutter as shit and aiming low seems to be what they were going for.

We also get suped up magical versions of well-known Spidey villains because why wouldn’t we?

I don’t know, more often than not, crossovers like this are really bad and half-assed schlock made to grab a buck from multiple fan bases. I guess this one didn’t strive to be anything different.

I mostly liked the interior art though and the covers were solid.

Rating: 4.25/10
Pairs well with: other Red Sonja crossovers or stories that put her in modern times.

Comic Review: Red Hood: The Lost Days

Published: June 28th, 2011
Written by: Judd Winick
Art by: Jeremy Haun, Pablo Raimondi

DC Comics, 145 Pages

Review:

I went into this with zero expectations but I’ve got to say, I was pretty enthralled with the story and it didn’t just fill-in the blanks between Jason Todd’s death and his reappearance as Red Hood but it gave so much extra context and meaning to the character.

Additionally, I loved how this tied into the Hush story arc and serves to set the stage for that epic tale while also leading into the Under the Hood plot, which saw Jason Todd come back into Batman’s life in a pretty badass way.

I wouldn’t read this story first, though. I’d save it for last because even if it is a prequel, I think it’ll read better with the knowledge obtained from the other two stories. Also, this might spoil those stories if you haven’t read them.

From  beginning to end, this was really engaging and it added new layers to Jason Todd’s redemption arc. It shows how he struggles with his new reality and how he is used and exploited in an effort to become a weapon against Batman. However, it also shows how well the character can adapt and how he doesn’t follow the paths that others have tried to lay our for him.

Additionally, the art in this was really good and it just added an extra sizzle to this already wonderful steak.

Rating: 9/10
Pairs well with: the other early Red Hood stories, as well as his solo titles of the last few years.

Film Review: The Amazing Spider-Man (2012)

Release Date: June 13th, 2012 (Tokyo premiere)
Directed by: Marc Webb
Written by: James Vanderbilt, Alvin Sargent, Steve Kloves
Based on: The Amazing Spider-Man by Stan Lee, Steve Ditko
Music by: James Horner
Cast: Andrew Garfield, Emma Stone, Sally Field, Rhys Ifans, Denis Leary, Campbell Scott, Irrfan Khan, Martin Sheen, C. Thomas Howell

Marvel Entertainment, Arad Production Inc., Matt Tolmach Productions, Laura Ziskin Productions, Inc., Columbia Pictures, 136 Minutes

Review:

“Peter? I know things have been difficult lately and I’m sorry about that. I think I know what you’re feeling. Ever since you were a little boy, you’ve been living with so many unresolved things. Well, take it from an old man. Those things send us down a road… they make us who we are. And if anyone’s destined for greatness, it’s you, son. You owe the world your gifts. You just have to figure out how to use them and know that wherever they take you, we’ll always be here. So, come on home, Peter. You’re my hero… and I love you!” – Ben Parker

I never had much urge to re-watch this. However, I hadn’t yet reviewed it and a lot of time had passed. So I figured it wouldn’t hurt to try to revisit it with somewhat fresh eyes and little memory of it, other than I didn’t particularly like it.

Almost from the get go, though, I realized that this would be a real slog to get through.

I was immediately reminded of how much I don’t like Andrew Garfield. While I’ve only really seen him in these Spider-Man movies and The Social Network, he does smarmy, self-impressed douchebag so well, I can’t see him as anything but that. His Spider-Man is terrible and his Peter Parker is even worse. Granted, he probably looks the part better than anyone else.

This film is also wrecked by atrocious, cookie cutter dialogue, the overabundance of superhero movie tropes and not actually understanding its source material and characters. All the Flash Thompson stuff is garbage and that’s not the actor’s fault, it’s the way the character is written and presented. He’s not a lowest common denominator asshole bully from an ’80s movie with a hip-hop makeover. He’s actually a guy that didn’t like Peter Parker looking at his girl but actually used to try and include him despite that friction. He was a complex character that often times showed that he wasn’t some jack off meathead.

The film also alters some of the key parts of Spider-Man’s origin and pales in comparison to the 2002 Spider-Man film’s ability to adapt those elements. Also, this film, for some reason, just makes up a bunch of random shit and has to make Peter’s dad some special somebody tied to all the villain shit.

Beyond that, even the action is crap. The CGI is shit and the look of The Lizard is so underwhelming and disappointing that fans of that character will feel immensely cheated.

The villain’s plot is dumb, run of the mill schlock that just made me scratch my head and audibly say, “Really?” even though I was alone in my room.

The only high point in this film is Emma Stone but she’s Emma fucking Stone. She has a beauty and natural charm that other modern actresses just can’t compete with. Well, except for a select few. She’s just likable in everything and she, at least, brightens up the film when she’s in it.

I also mostly liked Denis Leary, Sally Field and Martin Sheen in this but the bad script didn’t do them any favors.

Ultimately, this is a dud. I like it better than its deplorable sequel but even then, this picture was a huge misstep in just about every way.

Rating: 4.25/10

Comic Review: Daredevil by Frank Miller & Klaus Janson, Vol. 2

Published: March 5th, 2015
Written by: Frank Miller, Roger McKenzie
Art by: Frank Miller, Klaus Janson

Marvel Comics, 314 Pages

Review:

This is the second of the three large collections of the Frank Miller run on Daredevil, this is also the volume where the heaviest shit goes down. Primarily, the return of Bullseye, the death of Elektra and the first time Daredevil meets the Punisher.

I can’t speak on the third volume until I revisit it but I always remembered these string of issues as being the high point of Miller’s run and re-reading it now, I’d say that’s probably true.

This builds off of what Miller established already and it takes things to the next level, cementing Daredevil as one of the most intriguing heroes in Marvel’s lore. It also helps cement The Kingpin and Bullseye as real sons of bitches.

What’s really great about this, is that Miller, despite not yet having a lot of mileage under his belt, was able to write a really emotional and heartbreaking story. Binge reading through this, the overall Elektra arc goes by pretty fast. Still, you get emotionally invested in her and Daredevil’s relationship just as deeply as you would Spider-Man’s with Gwen Stacy or Mary Jane. It’s a tremendous feat to write something this captivating and heart-wrenching but Miller truly achieves greatness here.

For fans of The Gladiator, this is also where he redeems himself and it’s also a sad tale but really satisfactory despite his overall arc not being too big.

Beyond the story, the art is still fantastic and the work of Miller and Klaus Janson gets better with nearly every issue, as both men find their stride and put just as much care into the visuals of these stories, as Miller put into the writing.

If you are a fan of Daredevil and you haven’t read the Miller run, you’ve done yourself as real disservice.

Rating: 9.75/10
Pairs well with: the rest of Frank Miller’s run, as well as Ann Nocenti’s and the stories in-between.

Comic Review: Batman: The Complete Hush

Published: October 8th, 2013
Written by: Jeph Loeb
Art by: Jim Lee

DC Comics, 298 Pages

Review:

Batman: Hush is highly regarded as one of the best Batman stories of its era and honestly, it doesn’t disappoint. I hadn’t read it for over ten years but after recently watching the animated film adaptation, I wanted to give the source material a read again.

I’m happy to say that this lived up to my memories of it, as it’s just a great, well-layered story, where even if you figure out the big mystery, it doesn’t wreck the plot because there are so many surprises still woven in.

This features a lot of characters from both sides of the law but it doesn’t become bogged down by it and everyone truly serves a purpose with how they’re all tied to the main plot.

It shouldn’t be a surprise that this is good, simply because Jeph Loeb wrote it and he teamed up with the great Jim Lee, who provided some of the best and most iconic art of his career for this tale.

Hush is a solid comic book on every level. Saying too much about the plot might ruin things and this is a book that I definitely recommend. I’d rather people read it and discover its greatness for themselves.

Rating: 9/10
Pairs well with: other major Batman story arcs from the late ’90s and early-to-mid ’00s.